Art Review: Carnegie Museum's 'Small Prints, Big Artists'
The exhibit “Small Prints, Big Artists,” which recently opened at the Carnegie Museum of Art, is a rare gem simply for one reason.
“They are ultrasensitive to light,” guest curator Linda Batis says. “So, they can't be shown that frequently.”
Many of the prints have long been in the museum's collection, some for 100 years, says Batis, who was associate curator of fine arts at the museum from 1992 to 2005.
“The museum started collecting prints around 1915, shortly after it was founded, and continues even until now,” she says. “There are several prints in the exhibition that have been recently added to the collection.”
Focusing on prints dating from 1470 to 1700, Batis says the exhibit offers a “chronological overview” of early printmaking, as executed via four techniques: woodcut, engraving, etching and drypoint.
Located in the Heinz Galleries, the exhibit features 235 masterworks from the museum's exceptional collection of more than 8,000 prints. The intimately scaled woodcuts, engravings and etchings reveal the development of printmaking as a true art form.
On display are some of the most iconic images in the collection, such as Rembrandt's etching “Self Portrait with Saskia” from 1636.
In it, the artist wears an elaborate velvet hat, opulent coat and holds a pen. He is looking out at the viewer directly, while the disproportionately small Saskia, his wife, is relegated to the background.
Rembrandt, the Dutch painter whose full name was Rembrandt Harmenszoon van Rijn (1606-1669), is likely the most recognizable name in the exhibit. Throughout the centuries, he was highly regarded as a painter, but today, he is best known as a master printmaker, particularly for his self-portraits like this one.
Batis says the concept of the self-portrait as an exploration of one's own psyche did not really exist in the 17th century. “Most modern scholars believe that Rembrandt made the prints as models, or ‘tronies,' as they were then known,” Batis says. “He was also producing works for sale and publicizing himself as an artist.”
This print is one of nearly 90 by Rembrandt in the collection.
Like Rembrandt, German Albrecht Durer (1471-1528) rose to fame as a painter and printmaker, but history, too, has proved him a supreme master of the latter form of artmaking. His “Knight, Death, and the Devil” from 1513 is a stunning example among 21 others by the artist on display. Portraying the “moral life of the Christian soldier,” Batis says, “it's one of the finest impressions (of this print) known to exist.”
Lovers of detail will no doubt take delight in some intricate works, such as an engraving and etching by Jan and Lucas van Doetechum (Dutch, active 1551-1605 and active 1554-1572 respectively) based on a work by an anonymous imitator of fantastical painter Hieronymus Bosch (1450-1516).
There is also fine detail in “The Martyrdom of Saint Lucy” from 1613, an etching and engraving by Jacques Bellange (French, 1575–1616), a court painter to Dukes Charles III and Henri II of Lorraine from 1602 until his early death in 1616.
Batis says that as court artist, Bellange painted portraits, religious and mythological subjects and designed theatrical productions. However, “few paintings and original drawings are known to us,” she says, “but his 47 prints are his primary legacy.”
This one is particularly unique. Here, Saint Lucy is rushed by soldiers in unusually detailed costumes, yet, she has a luminous presence that causes her to stand out from the melee depicted.
“He was a very unusual printmaker,” Batis says. “This is a spectacular print, and it is quite large. Very elaborate costumes.”
Other excellent examples abound. Among works representing the Flemish painters of the Baroque period, Peter Paul Rubens' (1577-1640) “Saint Catherine in the Clouds” from the early 1620s is a standout.
The print is based on Rubens' ceiling painting for the newly built Jesuit church in Antwerp. The artist shows Saint Catherine from below as if we were looking up at her on the ceiling.
Batis says the process for creating this print may have been as follows: “Rubens probably etched the design on the plate and printed a few copies. Then, by pressing one impression onto another sheet of paper, Rubens made a proof that he corrected by hand.”
Unique to this exhibit are several interactive multimedia displays that explain the processes of printmaking, from tools used to techniques employed, such as how a copper plate is engraved.
“It shows you how an engraving is made, because these are mysterious processes for people,” Batis says. “It will help people get an understanding of how prints are made.”
Though it would be impossible to display all of the prints in the museum's collection in this exhibit, Batis says, “Since 1992, we have never done a show this big, this encyclopaedic.”
And, she says, even though prints were made in multiple, they are all extremely rare.
“People think these are multiples, I can get them anywhere, and, yes, that's true,” Batis says. “But, a lot of the prints, especially the earlier ones, are now so rare that they never come up for sale. And to put together a collection like this today, impossible. They have been absorbed into public and private collections and are simply not obtainable.”
Kurt Shaw is the art critic for Trib Total Media. He can be reached at email@example.com.
Show commenting policy
TribLive commenting policy
You are solely responsible for your comments and by using TribLive.com you agree to our Terms of Service.
We moderate comments. Our goal is to provide substantive commentary for a general readership. By screening submissions, we provide a space where readers can share intelligent and informed commentary that enhances the quality of our news and information.
While most comments will be posted if they are on-topic and not abusive, moderating decisions are subjective. We will make them as carefully and consistently as we can. Because of the volume of reader comments, we cannot review individual moderation decisions with readers.
We value thoughtful comments representing a range of views that make their point quickly and politely. We make an effort to protect discussions from repeated comments either by the same reader or different readers.
We follow the same standards for taste as the daily newspaper. A few things we won't tolerate: personal attacks, obscenity, vulgarity, profanity (including expletives and letters followed by dashes), commercial promotion, impersonations, incoherence, proselytizing and SHOUTING. Don't include URLs to Web sites.
We do not edit comments. They are either approved or deleted. We reserve the right to edit a comment that is quoted or excerpted in an article. In this case, we may fix spelling and punctuation.
We welcome strong opinions and criticism of our work, but we don't want comments to become bogged down with discussions of our policies and we will moderate accordingly.
We appreciate it when readers and people quoted in articles or blog posts point out errors of fact or emphasis and will investigate all assertions. But these suggestions should be sent via e-mail. To avoid distracting other readers, we won't publish comments that suggest a correction. Instead, corrections will be made in a blog post or in an article.
- Art Review: ‘Storyteller: The Photographs of Duane Michals’ at Carnegie Museum of Art
- Artists take impressionistic look at Pittsburgh